By Charlotte Brontë
Introduction through Erica Jong
Afterword by way of Marcelle Clements,
Overview
Orphaned into the loved ones of her Aunt Reed at Gateshead, topic to the tough regime at Lowood charity university, Jane Eyre still emerges unbroken in spirit and integrity. She takes up the submit of governess at Thornfield, falls in love with Mr. Rochester, and discovers the obstacle to their lawful marriage in a narrative that transcends melodrama to painting a woman's passionate look for a much broader and richer existence than Victorian society characteristically allowed. With a heroine packed with craving, the harmful secrets and techniques she encounters, and the alternatives she eventually makes, Charlotte Bronte's leading edge and enduring romantic novel maintains to interact and galvanize readers.
In early nineteenth-century England, an orphaned younger lady accepts employment as a governess at Thornfield corridor, a rustic property owned via the mysteriously distant Mr. Rochester.
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Additional resources for Jane Eyre
Example text
Something remote from us and something that is getting even more distant’’ (Benjamin, ‘‘The Storyteller,’’ p. 83). ’’ They ‘‘make their appearance in the remotest times,’’ he continues, and ‘‘some of them . . cannot any more shew themselves in this world’’ (On Heroes, p. 133). Thus he, too, describes modernity as loss, absence, cessation – in other words, as disenchantment. Yet, having made this point, Carlyle proceeds to argue that it is possible for modern writing, even print produced for the marketplace, to become heroic when it presents itself as a prophetic voice.
At any given moment during the nineteenth century, many different forms of voice struggled and interacted with English print culture. By turning ‘‘speech’’ into a place-holder for rational debate, Habermas renders it monolithic and homogeneous. He inevitably simplifies speech, so intent is he on proving its turn from good to bad. But speech in the nineteenth century can no more be reduced to critical debate and rational conversation than print culture can be reduced to essays in Blackwood’s Edinburgh Magazine.
The repeated murder of a storyteller or a doomed speaker, a figure that Victorian fiction in fact conjured up to authenticate itself, is the curious tropology by which fiction after Dickens lays claim to the authority to forge communities where mechanization had silenced speakers. A VOICE IN WRITING I argue in this book that the Victorian novel indicates in many different ways that there must be a speaker – who is, paradoxically, at once a pathetic ‘‘poor, crushed, human creature’’ and irresistibly powerful and charismatic – at Mythologies of the storyteller 29 the origin of its language.